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PETER BROWN Return to previous page Peter Brown's Review Index
Love Never Dies
10 March 2010 Since honesty is rarely the best policy, I'm going to take my life in my hands and admit that I am not one of Andrew Lloyd Webber's greatest fans. In fact, I've suffered for that stance when numerous devotees of Lloyd Webber's music have contacted me to spit venom and fury in response to my reviews of some of his other shows. One angry lady wrote from Australia accusing me of being a member of 'the Mauve Mafia', whatever that might be. However, I am – at least in part - able to rectify matters with respect to 'Love Never Dies'. Time indeed for another admission: I left the theatre last night humming the title tune - unheard of with any previous forays to Lloyd Webber's shows, as well as lots of the competition too I might add. 'Love Never Dies' is actually a rather peculiar commodity. It's at one and the same time a modern musical with stunning visual effects and a rather old-fashioned kind of show which tends towards the melodramatic and sentimental. In a sense, that is no bad thing because it's a combination that some fine musicals have laid claim to and succeeded with. Perhaps as time goes on, Lloyd Webber is coming to appreciate the more traditional approach, though I still find the sung-through modus operandi grates in terms of character development and storyline. The plot is a continuation of the story begun in 'Phantom of the Opera'. The idea of a sequel to that show has apparently been dogging Lloyd Webber for the best part of 20 years and he's had help from a variety of sources to come up with a suitable follow-on story. Ben Elton seems to have been the key to unblocking Lloyd Webber's difficulties, but even so it's not really the greatest idea ever dreamt-up. The whole thing actually starts with a bit of a whimper as two women discuss the old times at Coney Island. But then the effects kick-in and we're treated to some superb projections which do exactly what effects should do – they enhance the show rather than make up for its shortcomings. It's 10 years since the Phantom has seen his beloved Christine. And time has turned his cravings for her into frantic desperation. He uses his power as an impresario at Coney to lure Christine with a huge fee to sing at his theatrical emporium. However, Christine has her gambling husband and son in tow which complicates the Phantom's plans. Three basic ingredients make 'Love Never Dies' an impressive show. First, the orchestrations – by Andrew Lloyd Webber and David Cullen - really are outstanding. At times delightfully delicate, at others well-rounded and emotional. There's a fine orchestra under the direction of an excellent musical director, David Charles Abell. Second, Bob Crowley's set design is stunning, particularly in its use of perspective, for example when we're at the docks and huge ships form the backdrop, or the seedy bar lurking ominously under a pier. And the projections, designed by Jon Driscoll are awe-inspiring in both their originality and complexity. Finally, the singing from Ramin Karimloo (as the Phantom) and Sierra Boggess as Christine is pretty-well faultless. Ms Boggess's rendition of the title song is spellbinding and mesmerizing. I've paid little attention to the furore which has been stirred up among the many devotees of 'Phantom of the Opera' who seem to have thrown their toys out of the pram presumably concerned that their beloved musical might be knocked off its perch by the upstart. I don't think anyone needs to worry – there's room in the musical world for all kinds of shows and I'm sure that both Phantom and 'Love Never Dies' will continue to draw-in huge numbers of punters for years to come. I have to admit that 'Love Never Dies' is far better than I had expected. What's on offer is a more musically mature Lloyd Webber but, as with most of his other musicals, nothing is left to chance in the sense that the production values are of the highest standard, and there's a huge amount of original creativity in the design. It all makes for a great night out.
Peter Brown
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